30. You’re nothing- Iceage
They’ve matured a bit, true, but they’ve lost none of
their power. The steely rush of “Ecstasy” and the guitar work on “Burning hand”
are reminders that Iceage might be the most exciting and frightening young punk
band now touring. A few songs here also point to new avenues where Iceage are
sure to exceed. “In haze” has a R.E.M. inspired riff and despite the rawness of
“Coalition” the cries of “EXCESS” that serve as the chorus can’t help but be
catchy.
29. IV- The Bronx
“They got you working on the
weekdays/they got you working on the weekends too!” It’s a fantastic opening
line for The Bronx’s self-titled fourth album. It sums up the workman like
mentality that defines their musical undertakings. Blazing through IV’s 14 tracks in under forty minutes
The Bronx is at the top of their game. From the vocal cord destroying “Under
the rabbit” to the manic drumming of “Ribcage” they’re giving you every ounce
of energy they have. There’s no down time on IV, only lean punk songs that rush by at a blinding speed.
28. Hokey fright- The uncluded
How did this end up working?
Aesop and Kimya are legends in their respective scenes but mixing Kimya’s
deeply personal folk with Aesop’s cryptic rhymes seemed insane. And insane it
was, and they completely owned it. There are hilarious heartfelt moments like
Aesop’s conversations with a sturgeon on “The aquarium” and the uplift worthy
“Delicate cycle.” But even with its oddness Hokey
Fright more than manages to be extremely powerful on the late night
thriller of “TV on 10” and the stories on how sexual need pervades and twists
life views on “Alligator” are as chilling as they are alluring. Is this the
start of a new genre?
27. Between two selfs- Octo Octa
Its silky smooth yet unnerving.
Just below the placid surface of Octo Octa’s expertly produced songs darkness
lurks. The entire feel of the album fits the title quite well; two
personalities seem to be dueling as the music progresses. Between two selfs does have its share of encompassing tranquil and
danceable moments like “Work me” and “Uneasy” but the desperation in “Please
don’t leave me” is just as tangible. Either way this is music for late night
musings.
26. Government Plates- Death
Grips
Last year Death Grips released a
non-album single called “True Vulture” that came with an animated movie. At the
midsection a cartoonishly sinister crow breaks the fourth wall and whispers
“Stare at the abyss long enough, it’s gonna stare right back at ya.” The question
becomes for how long have Death Grips been in a staring contest with insanity?
With a starting point like Exmilitary you
would think they couldn’t become more unhinged, but with each subsequent
release their musical and lyrical content went farther down the rabbit hole. Government Plates is their most insane
project yet and even after multiple listens it remains a disorienting piece of
work. MC Ride’s vocals might have been toned down to make way for Flatlander’s frenzied
production but the album remains just as dark as previous releases and late
night listenings of Government Plates are
not suggested unless you want to question your sanity.
25. am- Ovlov
The best lo-fi shot of pure punk
energy you’ll get all year. Ovlov might be fixated on the Dinosaur Jr. endorsed
guitar tone but don’t write them off as simple copy-cats. For rock this year
few albums showed off better band chemistry (helps that Ovlov’s three members
are brothers) and riffage. From the rushing “Really bees” to the steely “Nu
Punk” am proved itself to be one of
the best guitar albums this year. Modern punks and classic rock fans alike will
find it hard not to be swept away.
24. Overgrown-
James Blake
James Blake retained the cold
croon that he mastered on his self-titled debut album but Overgrown shows a lusher side to Blake’s work. The title track is
gorgeous and humming, “Voyeur” nearly treads into the realm of bangers, and “To
the last” rides a dub vibe into some of Blake’s most personal singing. As
frigid as the music can be there’s soul reverberating through the production.
23. Loud city song- Julia Holter
How many genres can Julia Holter
smash into one album? Quite a few apparently. “In the wild green” is as jazz as
it is chamber pop, Holter’s voice flows like a baroque singer on a good portion
of these tracks, and of course a dark ambient vibe underlines every twitching
and vibrant note. For each gorgeous segment of music there’s another part with
gruesome undertones that balances it. Holter’s mind is a strange, strange
place.
22. Flourish//Parish-
Braids
Over twitching and burbling
synths Raphaelle Standell-Preston coos Parish//flourish’s
opening line; “My father always said/To get out of my head.” Braids seem to
have taken Preston’s Dad’s advice, Parish//flourish
switches moods from alien to ambient and back, sometimes in one song. Not
surprising as this ambitious album contains multiple 7 minute plus tracks and
enough sudden shifts to make your head spin.
21.
Clean- WHORES.
Subtly is not their strong
point. With a bunt sound that moves as politely as an extremely angry
sledgehammer Clean is a decimating
piece of sludge rock. Like an infinitely more pissed off version of Queens of
the stone age WHORES. rip through the 6 songs here with a menacing groove. On
“I AM NOT A GOAL ORIENTED PERSON,” lead howler Christian Lembach starts off
with “All the girls are professional by desire, all the men are dogs!” It’s a
dirty release that will make your skin crawl as often as you laugh. I mean,
look at these fucking song titles: “COUGERS NOT KITTENS” and “I AM AN AMATEUR AT EVERYTHING,” and the gritty
sounds match the names.
20. Twelve
reasons to die- Ghostface Killah
There are few groups that have
as much cinematic flair as Wu-Tang Clan, but this album brings it to a whole
new level. Ghost has never been one to be understated and, depending on how you
look at it, 12 Reasons to Die has the
dumbest or coolest plot ever. The Godfather, noir films, and a whole lot of
b-movies get melted together into a story where Tony Starks is resurrected
through the power of vinyl and becomes the invincible Ghostface Killah. Oh yes,
it’s batshit insane and Ghost revels in it. The only person on here that seems
to enjoy it more is producer Adrian Younge. His score to Ghost’s tale is deeply
influenced by equal parts Ennio Morricone and Curtis Mayfield. Snares that
sound like gunshots, over-the-top gospel singing, and grimy bass lines bring a
certain menace to every word that Ghost spits. Twelve Reasons is gritty,
unflinching, and above all a blast. It’s a fantastic addition to the Clan’s
mythos and one of their finest releases. All it needs is a proper theatre
release.
19. Amok- Atoms for peace
Funny that one of the funkiest albums of the year is spearheaded by Thom Yorke. To be fair Radiohead always had a strong rhythmic backbone that became more prominent from album to album. Amok seems like an alternate version of The King of Limbs trading the usual piano interludes for Flea’s basslines and some of the most brilliant percussion you’ll hear all year. Even Nigel Godrich’s production leans to the slinky and percussive side to provide a fantastic background for Mauro Refosco’s and Joey Waronker’s nuanced noodlings. When it all comes together on songs like “Default” or “Judge, Jury, Executioner” it sounds like the band is having an absolute blast.
18. Impersonator-
Majical Cloudz
Impersonator might be the most uncomfortable album released this
year. Not in terms of brutal sound or scuzzy production, but how intensely
personal it all seems. Singer Devon Welsh has a degree in religious studies and
the way he unspools his stories does have a certain mad fervor. Subtle but
stunning backgrounds from Majical Cloudz’s other half, Matthew Otto, are as
stark as they are shimmering and make Welsh’s lyrics all the more entrancing.
Welsh’s chilling baritone is near flawless in songs like “Mister,” “This is
magic,” and the brilliant “Bugs don’t buzz,” but he also shows off a tear
jerking higher range in the last half of the flawless “Silver Rings.” These are
the world’s most depressing lullabies, late night confessionals where no words
are minced and no dark secrets left hidden. Strange then that Welsh opens the
album with “I’m a liar, I say I make music.” Dude, you’ve made some of the best
music of the year.
17. Dream river- Bill Callahan
Bill Callahan doesn’t waste
words. So when he does unroll a story you better be listening. Dream River finds Callahan at his most
impressionistic, his ever excellent guitar work drifting into more abstract
textures and his lyrics painting small portraits. These are stories in miniature
with much larger consequences. His musings from the bar turn from drunken
people watching into interpersonal connections we weave throughout our lives on
“The sing.” The awe inspiring “Summer painter” starts only as Callahan’s
memories of boat work in Gulf Coast summers before turning into something much
more sinister. For Callahan Dream River is
just another notch in the belt, another fantastic album. Keep watch on him, we
have a true American treasure here.
16. Doris-
Earl Sweatshirt
Maturity probably isn’t the
first word you would associate with any member of Odd Future. But despite
Tyler’s raps about sasquatches and gorditas, Doris manages to be the most mature release from the OF crew not
named Channel Orange. Earl‘s only 19, but his lyrical content demolishes peers
and elders alike. The emotional potency in “Chum”, “Burgundy”, and “Sunday” is
stunning. Earl also tries his hand at production work and excels in all areas,
making murky darkness cling to every track. The guests here also rise to Earl’s
level. Domo Genius sounds incredibly hungry on his verses, Frank Ocean brings
levity on “Sunday”, and Doris also is given a hand by outside producers. The
Neptunes’ neon background on “Burgundy” amplifies Earl’s confusion over
newfound fame and jazz-hop masters BADBADNOTGOOD give a breathtaking
instrumental for Earl’s tired flow on “Hoarse.” Doris is made of fantastic self-revealing moments, jaw dropping
lines, and some of the year’s best bars. When you end an album with the line
“Young, black, and jaded, vision hazy strolling through the night,” you have to
have something backing it up. Make no mistake, Earl isn’t good for his age;
he’s great, period.
15. Settle-
Disclosure
Can we recognize for a moment
that once Settle hit the main stream
consciousness that we forgot that Disclosure are rookies? The eldest of the
Lawrence bothers is 22 years old. Let that sink in. One of the best house
albums made in years was crafted by two guys that can barely get into the clubs
that they’re playing at. Even if this was made by seasoned veterans Settle would still be a triumph, it’s
undoubtedly the catchiest album of the year and every other song on here could
dominate the charts. “Latch” “When a fire starts to burn” “F for you” and “White
noise” some of the year’s biggest singles. I can’t wait to see where they go
next.
14. Kveikur- Sigur Ros
So no, it wasn’t quite Sigur Ros
gone metal but Kveikur was still a
shocking twist. Jonsi’s vocals hovered above songs in haunting ways while Georg
Hólm and Orri Dýrason churned the songs to stormy climaxes. Considering the
ambient beauty of their last effort Valtari
the guitar heavy and nearly trashing title track was a brutal turn. Jonsi’s
vocals still remain gorgeous but a steely edge has replaced the floating
quality that defined his sound in earlier releases. Even with sure fire crowd
pleasers like “Isjaki” Kveikur is
unmistakably heavy and marks a serious departure from their former work.
13. Run the jewels- Run the
jewels
No it wasn’t any of the big
three this year. It was two of underground hip-hop’s most legendary figures
that crafted the year’s best rap album. Run
the jewels had enough mind blowing flows to send Marshall Mathers running and EL-P’s
production was twisted and brutal enough to put a beat down on Yeezus. And of course there’s Killer
Mike’s threats of war on the commercial kings of rap. “There will be no respect
for thrones” and “Niggas will parish in Paris, Niggas is nothing but parrots.”
This was a no fucks given no holds barred product with two of the best in the
game in their prime. When they say “we’re the new avengers” you better believe
it.
12. Modern
Vampires of the city- Vampire Weekend
What happened to the dewed eyed
Cape Cod obsessed kids we used to know? In short they grew up. Modern Vampires of the city still holds
on to the sterling arrangements that mastermind Rostam Batmanglij has always
handled with grace and Ezra still sings with a boyish smile, but there’s a
toxicity and maturity that has seeped into their work. Ezra’s lyrics have
become less Paul Simon and more John Lennon over the years and his dealings
with God and those who believe in a great creator reflect a weariness that was
absent in previous releases. That doesn’t mean they can’t be catchy as hell
though, “Finger back” is one of the most infectious things they’ve released yet
and “Diana young” is Elvis reborn as a TV on the radio fan. But the most
spectacular moments on here are shaded in with a bit of darkness. The sweeping
beauty of “Step” and “Hanna Hunt” hold melancholy in their bones the amazing
“Hudson” is the darkest thing they’ve done to date. Maybe the kids don’t stand
a chance, but the young adult’s chances are looking pretty excellent.
11. News from nowhere- Darkstar
Before 2013 Darkstar’s work
could be explained by listening to their single “Aidy’s Girl’s Computer,” a
clacking and simple song built around snapping percussion and synthesized
vocals. It was a thoroughly enjoyable track, but as the title suggested
Darkstar’s music didn’t seem very human. It was a shocking turn when News From Nowhere opened with gently
cooed vocals over elegant keyboard. It was a sharp break from the bleakness of
their last album North. News is a
lush and beautiful record, mashing up the most accessible moments of Animal
Collective and Aphex Twin. From the music box intro of “Timeaway” to the
cascading singing on “Amplified ease” it’s clear that Darkstar placed a great
amount of joy into this project. It amazing what warmth and beautiful harmonies
can do for an album.
10. Ripley Pine- Lady Lamb the
beekeeper
Beautiful? Absolutely, but Ripley Pine is about the dark crevasses
between Aly Spaltro’s gorgeous crooning. There are moments when her bird like
voice begins to waver then all hell breaks loose. Spaltro’s guitar playing and
vocal musings change from tranquil to toxic in seconds. Her lyrical content is
just as deep and unsettling. In a year seriously lacking great rock and country
Spaltro delivers some of the year’s most shocking rockers with the Jefferson Airplane
like “Mezzanine” (which might have the year’s best groove), the unstoppably vicious
“Bird balloons” and the apocalyptic “Taxidermist, Taxidermist.” Spaltro screams
“You will be in rapture!” at the end of Ripley
Pine. You surely will be.
9. Sunbather- Deafheaven
How can you be massive,
thrashing, and reverent at the same time? In terms of scope and sound Sunbather is one of the most mammoth
albums released in years, multiple tracks here would be the center pieces for
lesser albums but four behemoth songs compose the bulk of Sunbather: The brilliantly visceral “Dreamhouse,” the rushing title
track, the darkly distorted “Vertigo,” and the thundering finale of “The Pecan
Tree.” All of these songs deserve the word “epic” to be attached prominently.
The small interludes between these monsters gives room to breathe, but they
offer only for a few precious moments before you are forced back into the
sweeping hold of those monster tracks. You’ll be beaten to a pulp and uplifted
at the same time.
8. Virgins-
Tim Hecker
Virgins is an album based on space and contrast. That’s fairly
common for an album that crosses the line between drone and ambient, but the
way that Tim Hecker can create a song that seems to fill up grand halls only to
give way to musical claustrophobia is remarkable. “Virginal” opens with
clattering piano and is then overwhelmed by massive and rumbling bass bowings.
“Stigmata I” rolls forth with fuzzy and cacophonous keyboard lines before its
brother track “Stigmata II” puts forth strange and meditative pulses of sound.
There are times; especially during album center piece “Live room,” that
Hecker’s alien production even seems to invade the other senses. In the space
of 48 minutes Hecker creates something that is simultaneously beautiful and
repulsive; a gorgeous album that is often defined by its most ugly moments.
Above all it’s an album that, once it worms its way into your subconscious,
will never let go.
7. Krieg und Frieden (Music
For Theatre)- Apparat
It’s not necessary to know that German electronic
mastermind Apparat made Krieg und Frieden
as a score for an avant-garde production of “War and peace.” But that
tidbit of information does make you wonder what exactly that show was like. Krieg und Frieden balances classical
musings and pop bliss perfectly with a good helping of post-rock in between. In
a year without a Godspeed record Apparat steps into the void with the
overwhelming “44 (noise version)” only for the next song to be a stark number
where Apparat’s ever gorgeous falsetto coldly reaches out. The term
“experimental” could be applied to this fantastic work but too often that genre
label excludes the possibility of transcendent beauty. Krieg und Frieden is a strange album indeed, but in wondrously
captivating ways.
6. Blowout-
The So so glos
This is it. This is that special
punk album that is obnoxiously catchy, but smart enough to get away with it.
It’s a crusty grimy affair that can be fall-on-the-floor-laughing one moment
and then give you a total sucker punch with surprising emotional heft. And of
course just for slashing guitar chords, manic drums, and scream until your
throat starts bleeding choruses Blowout has
you covered. At the start of the record The glos lead off with these words “It
wasn’t 1990 at all, but the future seemed to be” and with a few Nirvana
references scattered throughout it seems like The glos are wishing for a new a Nevermind, an album to demolish other
stagnate genres and artists currently dominating the cultural consciousness.
And they just might be the band to make it.
5. Arc-
Everything Everything
There’s one album every year
that leaves me stumped as to which song off of it should end up on my songs of
the year list. Arc was that album
this year. Even the minute and a half long title track is an expertly crafted
song, graciously linking the more danceable first half of the album into the
more subdued second half. Everything Everything meticulously worked on Arc and it is apparent. The
instrumentation shifts from bombastic to patient seamlessly; the drum work
pushing and pulling songs along to frenetic climaxes or somber closings while
Alex Robertshaw’s guitar sounds like a different instrument every song.
Jonathan Higg’s death defying vocal leaps add levity to his cryptic and
fascinating lyrics. Everything pull off some of the year’s best pop in
“Amourland” only to be discussing geiger counters and scientific ethics two
songs later. It’s a brilliant album, not just in terms of sonics; it’s simply
one of the smartest pop albums made in years.
4. All hail
bright futures- And so I watch you from afar
Is this math-pop? Yes it has all
the mind-blowing technique of a math-rock album but few albums are brimming
with as much joy as All hail bright
futures. There are interludes that sound like the soundtrack to “Animal
Crossing” but most of the songs are the score to the word’s friendliest
mosh-pit. “Like a mouse” speeds forward with punk-like energy and though “Big
thinks do remarkable” and “AMBULANCE” stick to major keys they trash enough to
make you head bang. Even prog and dance music make their way here. “Ka Ba Ta Bo
Da Ka” is a whimsical piece driven by a vocal exercise and the stellar “Rats on
rock” contains no less than three distinct sections from a guitar heavy intro,
the Caribbean groove laden second bit, and the manic ending. There’s no doubt
that this is the most hyper-active album made this year and you’ll have a blast
listening in.
3. New
history warfare vol 3: To see more light - Colin Stetson
It could be all technique. Colin
Stetson’s excursions in saxophone experimentation could have been complex
exercises, meant to show off his mastery of circular breathing and over-tones.
Instead Stetson, as always, delivered an album that focused on the soul of the
music. Yes Stetson is probably the world’s best saxophone player on a purely
technical level, but it becomes obvious he’s not concerned with that title.
With help from Bon Iver Stetson has made a collection of Gospel tunes for some
alien church. Each song contains a strangely religious tone from the reverent
“What are they doing in heaven today” to the dark epic that is the title track.
Stetson’s playing might be enough on its own to draw you in, but he’s concerned
with making massive and moving pieces that prove that his saxophone isn’t just
an instrument, it’s an extension of his body.
2. …like clockwork- Queens of
the stone age
When the aliens eventually come
to earth, asking what this “rock ‘n roll” thing they’ve heard so much about is,
don’t stop, don’t think, don’t hesitate. Hand them …like clockwork. It might just be the best rock album made
since…well…Queens’ Songs for the deaf. The
mortality obsessed album plays around with disco struts, piano ballads, and
Queens’ own acid washed version of “A day in the life.” It’s like Josh Homme
and his mad ensemble were determined to make their own twisted visions of rock
excellence come to life. The DNA of Zeppelin, Hendrix, and Sabbath is proudly
on display but Queens proudly stamp their own insane sound on every note. Next
time you hear someone claim “rock is dead” punch them in the face. Then tell
them about Queens’ latest masterpiece.
1. Spaces-
Nils Frahm
We often misuse the word
sublime. Much like “epic” and “awesome” it’s lost some of the heft it once
held. Sublime, in the purest sense, is meant to describe something so
stunningly beautiful that it becomes awe-inspiring, something beyond the reach
of most, if not all, words. It’s not
a word to be thrown around while reviewing music, but Nils Frahm’s is absolutely sublime.
Spaces is a live album that transports the listener into one of Frahm’s
shows. This is Frahm at the pinnacle his work reflecting both neoclassical
peers like Ludovico Einaudi and Max Richter as well as one man orchestras like
Colin Stetson or Keith Jarret. The physicality of the performance bleeds
through on every track. The songs here shift back and forth between tranquil
contemplation and overwhelming splendor. It’s an album completely made of
breath taking moments, whether in the form of the Erik Saite indebted “Over
there, It’s raining,” the impossible improv of “Improvisation for coughs and a
cell phone,” or the punishingly climatic “Says.” Only two albums this decade
have held the title of “10/10” so far and Spaces
co-holds that distinction with ease. It continues to stun, long after the
initial fantastic shock.
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